FCPro Reading?

[Rafael Amador]

Hi RJ,
There are few books about FC but mostly about how to manage the very programm as a tool. Normally this kind of books do not treat issues related with codecs, compression, color spaces, etc.
What you’re looking for mis more related with pure video. Digital and analog. Focal Press they used to have the best technical publication in Europe. In the web you have also a lot of information but quite dispersed and some times confusing or even innacurated. Some manuals of certain programms (FC, Compressor) also give some useful techtnical information.
Many manufacturers and developers webs sites contents are very good too.
Salud,
rafael

[Jeremy Garchow]

[RJ] “I’m wondering if I could work in the AVID 1:1 codec, since I will not need to lay back to tape with my AJA hardware.”

Don’t know why you would want to do this is FCP is not Avid. Work with a codec that FCP likes, then recapture in Avid if you are finishing there or vice versa.

[RJ] “I am specifically looking for info on the in/outs of moving between FCPro, After Effects and Avid Adrenaline.”

Check out https://www.automaticduck.com/

[RJ] “I love to build a good foundation for the rules for luminance space issues (0-255 & 16-235, frame size choices, especially when ripping/converting from alternate sources such as DVD or a client supplied source video.”

Maybe if you ask a specific question, it’ll be easier to satisfy your curiosities. What do you want to know?

Jeremy

[Rj Miles]

Thanks guys…

Jeremy… My typical AVID work flow would be After Effects for a client with an AVID Adrenaline, soon to be upgraded to the Adrenaline HD.

Often I will simply work in AE and render files in the AVID codec. Sometimes I will need to use FCP to complete some editing along with the motion graphics and provide a digital file for the client. I am trying to understand the best codec flow to use for AVID -> AE -> FCP -> AVID.

Ideally, I would like to avoid any additional transcoding, as well as choose a starting codec which allows the client to output a movie files as quickly as possible. I believe the inherent AVID 1:1 would be the fastest for them to render and import. I’m trying to get a handle on what the client can do a little differently on output/input, that will make using FCP a little easier. If I can’t find a solution which maintains quality thru my process, as well as keeping client output/input times to a minimum, I may end up having to add Express HD to my software list. I’d rather not have to invest that $$$.

The questions I have regarding luminance ranges, etc, is with regard to how things can get remapped as you move from one codec to another. I know after a period of time I could discover the best methods/settings to use at each step in the in/out chain. However, I would like to do a little reading and get a leg up on matter. Certainly, I will post specific follow up questions to the FCP forum as well as the AE and AVID forums if that is the best way to go.

I’m sure I am missing part of the bigger picture with questions.

Thanks again for your comments.

RJ
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[Jeremy Garchow]

Hmm, not a simple process RJ.

First of all, as you know, the only thing you are going to get out of AE is a quicktime movie. There’s no timeline exchange OUT of AE (although I wish there was). So now you have to decide if FCP or Avid is correct for you. What I would do with your map that you have provided above is start in AVID and then go to AE. If you need to make tweaks in FCP, then I would use auto duck to get your AVID timeline in FCP, recapture to FCP in a FCP friendly codec so that now your media and timelines are the same in AVID/FCP. Then you can go to AE from either application at that point. Sounds like a hassle. If I were you I’d keep it easy and stick with Avid if you know that’s where you are finishing.

Jeremy

[Rj Miles]

Jeremy…

May I add that I don’t need to maintain timeline contact in my in/out process at the moment. For now, I can run wild of my clients AVID edit session.

In the short term, my concern is mostly FILE -> FILE -> FILE interchange between the steps I mentioned.

I’m wondering Apple Intermediate Codec since it renders so quickly on my end.

At some point, I will have to do some trial/error testing. I’ll rendered out test files with various codecs on my client’s AVID and I’ll work thru them and end up with test files I’ll import back into his rig. I’ll then observe any quality differences as well as any luminance or aspect ratio errors. I was always going to have to do this anyway, but I would still like to get past those list of test which were destined to be a problem from the beginning… know what I mean? 🙂

Thanks again.

RJ
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